In Broadcast - CABSAT 2016 - 19


19

www.inbroadcast.com | CABSAT InShow Guide | 8 - 10 March 2016

Global Trends in
Broadcast Systems Design
ATG Danmon UK is helping broadcasters keep up in an ever-evolving industry...
By Russell Peirson-Hagger, Managing Director, ATG Danmon UK

T

he past two decades have seen a
massive widening of the broadcast
business, scaling out from national
boundaries to become truly global.
Prior to 1990, the main distribution
avenues for broadcast programmes
were terrestrial transmitters and
subscription-based cable. Satellite
broadcasting has since contributed
massively to the number of available
television channels, supplemented
more recently by the Internet.
Although the rate of technical progress
varies from one country to another,
broadcast audiences worldwide are
able to experience wider programme
choice and high-quality delivery in
digital SD, HD, and very soon, UHD.
As broadcast system integrators,
we have experienced a similar
expansion from a predominantly
national to increasingly global
business activity. Founded in 1993,
ATG Broadcast worked on many
highly successful projects in the UK
during its first decade. The company's
focus
was
already
becoming
increasingly
international
when,
in 2006, ATG became part of the
Scandinavian-based Danmon Group.
This strengthened our operational
resources and enabled us to increase
global visibility on many levels. The
Danmon Group today has offices
in Asia, Denmark, Germany, the
Middle East, Norway, Portugal, Spain,
Sweden, and the United Kingdom.
The Past, the Present, and the Future
The transition from dedicated
broadcast hardware to IT-based
products is proceeding at widely
differing speeds depending on which
product category one happens to be
considering. Audio and video editing
products using hard disk drives, for
instance, have been with us for many
years, but we are yet to see fully
functional virtual IP playout systems
utilising commodity IT hardware,
although they are promised. We do,
however, need to leave the door
open when designing systems today
to allow the future adoption of these
technologies as they are developed.

IT hardware, in a broadcast context,
has also been used for some time to
provide easy control and monitoring
of devices located in an apparatus
room or in remote locations. The
shift from panel-per-product device
control was initially resisted but
now we see the advantages of welldesigned graphical interfaces and
touch screens, leaving the dedicated
panels to provide functions such
as emergency back-up. There are
exceptions to this trend, of course,
where traditional control surfaces
continue to be preferred even though
the parent device is still essentially
software running on a PC.
The relative balance of equipment
in the apparatus rooms of modern
television stations has swung from
around 80% dedicated broadcast
equipment and 20% IT servers
to the exact opposite. Not long
ago engineers, during the course
of a system build, would spend a
significant amount of their time locked
in the CAR configuring devices and
fighting for space. Now the bulk of
that activity is performed from their
desks by simply remoting into the
system. This brings the advantage
of reducing the number of engineers
needed on site and simplifying the
task of providing post-installation

technical support. Within minutes of
an issue being flagged, an engineer
can be diagnosing it and providing a
fix.
ATG Danmon UK's Role
in the Evolution
Over the past 12 months, the ATG
Danmon UK team has been very active
on major projects for clients in Great
Britain and overseas. Projects include
a 16-channel broadcast playout system
being installed in the Middle East,
plus a five-camera high-definition
production studio, also for the Middle
East. Both systems were prebuilt
at our headquarters in Letchworth,
Hertfordshire, prior to being shipped
for onsite installation. This enabled us
to test the systems fully and conduct a
factory acceptance in order to ensure
the customer was satisfied that we
had met their requirements, before
actual delivery. We opened up access
to allow manufacturers to remotely
configure their systems. This made it
easy for us to schedule work and for
manufacturers to resource.
Two new project orders were
received from a client with several
global locations. The first, which has
now been completed, involved the
upgrade of an existing three-camera
green screen studio in London.

The second system is currently
being installed in the Far East and
is a full augmented reality studio
with robotic heads and track. Both
studios will be used for internal and
external presentations, and also for
contribution pieces to broadcasters.
In the UK, we recently completed
a major upgrade to the voiceover
facilities at the London headquarters
of Input Media. Input Media is one
of the UK's leading sports television
production companies. Established
more than 25 years ago, it produces
over 2,000 hours of top-quality
programming every year. The project
required quick turnaround as the
voiceover facility is used to create
live sports commentaries. A central
objective was to allow easy operation
of all suites by a single person. We
upgraded eight suites in total, each
with audio processing and monitoring
equipment. The entire workflow
is managed via a control system,
operated from a simple user interface.
Our most technically challenging
project of all is a UHD flyaway
production system currently being
built for a new client.
It incorporates multiple cameras
capturing 16 bit RAW 4K direct to
solid state memory cards. The need
to capture material at the highest
possible quality is an imperative
requirement. As we work with the
client on the complex design, it is
highlighting exactly where current
technologies currently lie.

Pre-build testing in progress with Jonathan Hughes, Head of Systems Integration, ATG Danmon


http://www.inbroadcast.com

Table of Contents for the Digital Edition of In Broadcast - CABSAT 2016

In Broadcast - CABSAT 2016 - Intro
In Broadcast - CABSAT 2016 - Cover1
In Broadcast - CABSAT 2016 - Cover2
In Broadcast - CABSAT 2016 - 3
In Broadcast - CABSAT 2016 - 4
In Broadcast - CABSAT 2016 - 5
In Broadcast - CABSAT 2016 - 6
In Broadcast - CABSAT 2016 - 7
In Broadcast - CABSAT 2016 - 8
In Broadcast - CABSAT 2016 - 9
In Broadcast - CABSAT 2016 - 10
In Broadcast - CABSAT 2016 - 11
In Broadcast - CABSAT 2016 - 12
In Broadcast - CABSAT 2016 - 13
In Broadcast - CABSAT 2016 - 14
In Broadcast - CABSAT 2016 - 15
In Broadcast - CABSAT 2016 - 16
In Broadcast - CABSAT 2016 - 17
In Broadcast - CABSAT 2016 - 18
In Broadcast - CABSAT 2016 - 19
In Broadcast - CABSAT 2016 - 20
In Broadcast - CABSAT 2016 - 21
In Broadcast - CABSAT 2016 - 22
In Broadcast - CABSAT 2016 - 23
In Broadcast - CABSAT 2016 - 24
In Broadcast - CABSAT 2016 - 25
In Broadcast - CABSAT 2016 - 26
In Broadcast - CABSAT 2016 - 27
In Broadcast - CABSAT 2016 - 28
In Broadcast - CABSAT 2016 - 29
In Broadcast - CABSAT 2016 - 30
In Broadcast - CABSAT 2016 - 31
In Broadcast - CABSAT 2016 - 32
In Broadcast - CABSAT 2016 - 33
In Broadcast - CABSAT 2016 - 34
In Broadcast - CABSAT 2016 - 35
In Broadcast - CABSAT 2016 - 36
In Broadcast - CABSAT 2016 - 37
In Broadcast - CABSAT 2016 - 38
In Broadcast - CABSAT 2016 - 39
In Broadcast - CABSAT 2016 - 40
In Broadcast - CABSAT 2016 - 41
In Broadcast - CABSAT 2016 - 42
In Broadcast - CABSAT 2016 - 43
In Broadcast - CABSAT 2016 - 44
In Broadcast - CABSAT 2016 - 45
In Broadcast - CABSAT 2016 - 46
In Broadcast - CABSAT 2016 - 47
In Broadcast - CABSAT 2016 - 48
In Broadcast - CABSAT 2016 - 49
In Broadcast - CABSAT 2016 - 50
In Broadcast - CABSAT 2016 - 51
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In Broadcast - CABSAT 2016 - 53
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In Broadcast - CABSAT 2016 - 55
In Broadcast - CABSAT 2016 - 56
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In Broadcast - CABSAT 2016 - 58
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In Broadcast - CABSAT 2016 - 60
In Broadcast - CABSAT 2016 - 61
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In Broadcast - CABSAT 2016 - 65
In Broadcast - CABSAT 2016 - 66
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In Broadcast - CABSAT 2016 - 69
In Broadcast - CABSAT 2016 - 70
In Broadcast - CABSAT 2016 - 71
In Broadcast - CABSAT 2016 - 72
In Broadcast - CABSAT 2016 - 73
In Broadcast - CABSAT 2016 - 74
In Broadcast - CABSAT 2016 - 75
In Broadcast - CABSAT 2016 - 76
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